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Banksy's Multimodal Representations: A Cultural-Rhetorical-Cognitive Analysis.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Banksy's Multimodal Representations: A Cultural-Rhetorical-Cognitive Analysis./
作者:	de Cassia Bastos Arantes, Rita.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:	360 p.
附註:	Source: Dissertations Abstracts International, Volume: 83-06, Section: A.
Contained By:	Dissertations Abstracts International83-06A.
標題:	Political activism. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28892404
ISBN:	9798759931676

Banksy's Multimodal Representations: A Cultural-Rhetorical-Cognitive Analysis.
de Cassia Bastos Arantes, Rita.

Banksy's Multimodal Representations: A Cultural-Rhetorical-Cognitive Analysis. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 360 p.

Source: Dissertations Abstracts International, Volume: 83-06, Section: A.

Thesis (Ph.D.)--Universidade de Lisboa (Portugal), 2020.

This item must not be sold to any third party vendors.

This doctoral thesis consisted of a cultural-rhetorical-cognitive approach to the work of the English street artist Banksy and in particular of his graffiti. By examining the aesthetics and function of Banksy's graffiti in both street and contemporary art, this study has shown that Banksy's graffiti differ from traditional graffiti in three aspects. First, Banksy's graffiti created a new environment for street art on the contemporary art circuit. Second, Banksy's graffiti enhanced the function of self-expression art, attributed to traditional graffiti, and became a means communication media used by the artist to comment, reinterpret, and criticise socio-political issues that have occurred worldwide. Third, Banksy's graffiti came to appear as 'creative weapons' in the artist's social-political activism. Regarding the name BANKSY, this study has demonstrated that in addition to being the authorial figure reference of the anonymous and most famous street artist today, it has simultaneously played an 'agency' role in the context of street art. In this study, it was also delimitated Banksy's artistic phases between the years 1993 and 2018, based on the growth of his artistic ethos and the pathos he awoke in his audience. Finally, this thesis presented a multimodal cognitive analysis of eleven selected Banksy's graffiti, which represent each of the fronts of the artist's socio-political activism, demonstrating, in the context of cognitive linguistics, some plausible interpretations of the visual metaphorical representations of these graffiti. For the construction of the theoretical framework, in each chapter, different theories were grouped to compound the basis of analysis. In the first chapter, theories of cultural studies (HALL, 2005, BARKER; JANE, 2016, BARKER, 2014, STOREY, 2015 and BARNARD, 1998) were associated with theories of communication and media (MCLUHAN, 1951/2001, 1964 / 2015, 2005, MCLUHAN; FIORE, 1967,1968, MCLUHAN; POWERS, 1989) to inscribe Banksy's graffiti within the context of popular culture and characterise them as media of communication. In the second chapter, Michel Foucault's (1977) reflections on authorship and Anthony Giddens's (1984) concept of 'agency' were brought together to characterize the name BANKSY as an authorial figure, within the scope of contemporary art, and 'agent' in the field of street art. Additionally, from Guy Deboard's (2002) discussion of 'spectacle agent', Banksy's anonymity was qualified as a means of guaranteeing his freedom of creation. In the third chapter, the Aristotelian canons ethos and pathos (KENNEDY, 1991) were used to locate the rhetorical resources Banksy used throughout his career and to define his artistic phases. Finally, in the fourth chapter, the association of Charles Forceville's theory of multimodal metaphors (1994, 1996, 2008, 2009, 2012, 2016 and 2017), with the concept of irony by D.C. Muecke (1980), and the study of visual intertextuality by Eduardo Cintra Torres (2015) converged to form the theoretical framework used in the multimodal cognitive analysis of eleven selected Banksy's graffiti. This analysis revealed that Banksy's aesthetics assumes a configuration of 'artistic weapons' against the capitalist hegemony of the globalized world and, at the same time, it inspires and contributes to expanding his audience's social-political awareness, at a 'glocal' level.

ISBN: 9798759931676Subjects--Topical Terms:

2079578
Political activism.

Banksy's Multimodal Representations: A Cultural-Rhetorical-Cognitive Analysis.
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245 1 0 $a Banksy's Multimodal Representations: A Cultural-Rhetorical-Cognitive Analysis.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2020
300 $a 360 p.
500 $a Source: Dissertations Abstracts International, Volume: 83-06, Section: A.
500 $a Advisor: de Almeida, Maria Clotilde;Furtado, Rodrigo Miguel Correia.
502 $a Thesis (Ph.D.)--Universidade de Lisboa (Portugal), 2020.
506 $a This item must not be sold to any third party vendors.
520 $a This doctoral thesis consisted of a cultural-rhetorical-cognitive approach to the work of the English street artist Banksy and in particular of his graffiti. By examining the aesthetics and function of Banksy's graffiti in both street and contemporary art, this study has shown that Banksy's graffiti differ from traditional graffiti in three aspects. First, Banksy's graffiti created a new environment for street art on the contemporary art circuit. Second, Banksy's graffiti enhanced the function of self-expression art, attributed to traditional graffiti, and became a means communication media used by the artist to comment, reinterpret, and criticise socio-political issues that have occurred worldwide. Third, Banksy's graffiti came to appear as 'creative weapons' in the artist's social-political activism. Regarding the name BANKSY, this study has demonstrated that in addition to being the authorial figure reference of the anonymous and most famous street artist today, it has simultaneously played an 'agency' role in the context of street art. In this study, it was also delimitated Banksy's artistic phases between the years 1993 and 2018, based on the growth of his artistic ethos and the pathos he awoke in his audience. Finally, this thesis presented a multimodal cognitive analysis of eleven selected Banksy's graffiti, which represent each of the fronts of the artist's socio-political activism, demonstrating, in the context of cognitive linguistics, some plausible interpretations of the visual metaphorical representations of these graffiti. For the construction of the theoretical framework, in each chapter, different theories were grouped to compound the basis of analysis. In the first chapter, theories of cultural studies (HALL, 2005, BARKER; JANE, 2016, BARKER, 2014, STOREY, 2015 and BARNARD, 1998) were associated with theories of communication and media (MCLUHAN, 1951/2001, 1964 / 2015, 2005, MCLUHAN; FIORE, 1967,1968, MCLUHAN; POWERS, 1989) to inscribe Banksy's graffiti within the context of popular culture and characterise them as media of communication. In the second chapter, Michel Foucault's (1977) reflections on authorship and Anthony Giddens's (1984) concept of 'agency' were brought together to characterize the name BANKSY as an authorial figure, within the scope of contemporary art, and 'agent' in the field of street art. Additionally, from Guy Deboard's (2002) discussion of 'spectacle agent', Banksy's anonymity was qualified as a means of guaranteeing his freedom of creation. In the third chapter, the Aristotelian canons ethos and pathos (KENNEDY, 1991) were used to locate the rhetorical resources Banksy used throughout his career and to define his artistic phases. Finally, in the fourth chapter, the association of Charles Forceville's theory of multimodal metaphors (1994, 1996, 2008, 2009, 2012, 2016 and 2017), with the concept of irony by D.C. Muecke (1980), and the study of visual intertextuality by Eduardo Cintra Torres (2015) converged to form the theoretical framework used in the multimodal cognitive analysis of eleven selected Banksy's graffiti. This analysis revealed that Banksy's aesthetics assumes a configuration of 'artistic weapons' against the capitalist hegemony of the globalized world and, at the same time, it inspires and contributes to expanding his audience's social-political awareness, at a 'glocal' level.
520 $a Esta tese doutoral constituiu-se de uma abordagem cultural-retorica-cognitiva da obra do artista de rua ingles Banksy e em particular dos seus grafites. Ao examinar a estetica e a funcao dos grafites de Banksy no ambito da arte de rua e da arte contemporanea, este estudo mostrou que eles diferem das formas e dos objetivos dos grafites tradicionais em tres aspetos. Primeiramente, os grafites de Banksy criaram um novo ambiente para a arte de rua no circuito da arte contemporanea. Em segundo lugar, os grafites de Banksy aprimoraram a funcao de arte de autoexpressao, atribuida aos grafites tradicionais, e se transformaram em meios de comunicacao usados pelo artista para comentar, reinterpretar e criticar questoes sociopoliticas ocorridas em varias partes do mundo. Por fim, os grafites de Banksy passaram a figurar como armas criativas no ativismo sociopolitico do artista a nivel global. Relativamente ao nome BANKSY, este estudo demonstrou que para alem de ser o referente autoral do artista de rua anonimo e mais famoso da atualidade, ele tambem tem desempenhado, simultaneamente, um papel de 'agencia' no contexto da arte de rua. Neste estudo tambem foram definidas as fases artisticas de Banksy compreendidas entre os anos de 1993 e 2018, a partir do desenvolvimento do seu ethos artistico e do pathos que ele despertou em seus diversos publicos. Por fim, esta tese apresentou as analises cognitivas multimodais de onze grafites selecionados, que representam cada um dos frontes do ativismo sociopolitico de Banksy, demostrando, no contexto da linguistica cognitiva, algumas possiveis interpretacoes das representacoes metaforicas visuais desses grafites. Para a construcao do aporte teorico, em cada capitulo foram agrupadas diferentes teorias de acordo com cada problematizacao proposta. No primeiro capitulo, associou-se as teorias dos estudos culturais (HALL, 2005, BARKER; JANE, 2016, BARKER, 2014, STOREY, 2015 e BARNARD, 1998) as teorias de comunicacao e media (MCLUHAN, 1951/2001, 1964/2015, 2005, MCLUHAN; FIORE, 1967,1968, MCLUHAN; POWERS, 1989) para inscrever os grafites de Banksy no contexto de cultura popular e caracteriza-los como meio de comunicacao. No segundo capitulo, reuniu-se as reflexoes de Michel Foucault (1977) sobre autoria e o conceito de 'agencia' de Anthony Giddens (1984) para caracterizar o nome BANKSY como figura autoral, no ambito da arte contemporanea, e 'agente' na seara da arte de rua. Adicionalmente, a partir da discussao de Guy Deboard (2002) sobre o 'agente do espetaculo', o anonimato de Banksy foi qualificado como um meio de garantir a sua liberdade de criacao. No terceiro capitulo, foram utilizados os canones Aristotelicos ethos e pathos (KENNEDY, 1991) para localizar os diferentes recursos retoricos utilizados ao longo de sua carreira a fim de definir as suas fases artistas. Por ultimo, a associacao da Teoria da Metafora Multimodal de Charles Forceville (1994, 1996, 2008, 2009, 2012, 2016 e 2017), ao conceito de Ironia de D.C. Muecke (1980) e ao estudo sobre Intertextualidade Visual de Eduardo Cintra Torres (2015) convergiu para formar o frame teorico utilizado nas analises cognitivas multimodais dos dez grafites selecionados. Estas analises evidenciaram que a estetica banksyana assume uma configuracao de 'arma artistica' contra a hegemonia capitalista do mundo globalizado e, ao mesmo tempo, consegue inspirar e contribuir para que seus publicos, a nivel 'glocal', expandam suas consciencias sociopoliticas.
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